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【2008】TRANFORMATION—Wang yin

“Deep snow at the San Guan gate, Old Dream of Old Love” is a homesick. A piece of Madelaine snack is a memory.


There exist numerous realities. From the point of view of big scale, it may be a daily life, it may be a politics, it may be a culture. And for me, it is difficult to touch this subject. There exists to me just one reality, that is myself.. So I could only start from here, myself.


Season could be detected from one small leaf, and what I speak of is a stroke of touch, it is also an inspiration and un coup de tete. When we speak of the poem “complain when feel treated unjust”, we speak of this kind of move and reaction to it. In our daily life, in our real world, it may appear at any time anything which could move us, it maybe would not come at all. In fact you are not in the state of capturing something, you are in a state of expecting something, a state of waiting for a rabbit by a tree, and you are the “tree” yourself. And I myself, when wanting to do arts, would like to set out from the emotion of feeling up to being reasonable. I have been looking for a reasonable approach, and this is one’s style or the language. Style is to be reasonable.


When an artist enters into a complicated feeling with his surrounding world, he will naturally recall some approaches like “taking flowers for beauties”. As to me, I sometimes implied something in the image of my pictures. And sometimes, approach could speak, for the painting itself has a very strong tradition of genealogy. To a painter, it is a not a source for your work, but on contrary, it is of something mentioned by Du Fu in his poem, “melodies surprise the spirits”. The rhythm of a poem is a ensuring factor for your free expression, that is also to say, limit gives you freedom.


In art work, exploiting the old and past is one tradition never diminished. During the past few hundred years, we have built a big background of exploiting the foreign to serve ourselves. Today, many artist start their work and development just under this background, and it exerts an influence upon everyone of us.


Whether an art is noble or common, I think personally there exists no clear boundary between them. What is important is that you could transform something you need out of them regardless of its ample origins. In this respect, the Poet Du Fu put it well in his poem” Alien style and foreign mood approach grace; adherence to more transformation is your teacher”. As to individualization, my opinion is that is a result obtained from a transformation of non-individualization.


As to the selection of the images in my work, I sometimes would search for certain image, and my work is of no exception. Principally, my career could be divided into two periods with the year 1990 as its dividing line. The works after the 90’s are only a development of before the 90’s. if there is a reason for this transformation, it could only be said to be a seed which will naturally spring up and grow up.


“The Soviets” in the ”Homesick”  exhibition is one of the many I have made of this genre. I selected among many a group of portraits of the intellectuals of the age of 50’s or 60’s as the source for my work. I made use of the approaches of Soviet styles which was very current at that time in our country, and I covered on these painted pictures some stroke of gouache. The Soviet style is one of the standard styles I have learnt during my study time at college, it is a system, similar to the orthodox calligraphy when one studies calligraphy. At the time I pursued art study, there was no other systems but this one, on other alternative, and this is a part of mine. To put is simply, the purpose I made this group of work is only for the contemplation of myself , or put it in another way, how I came to this.